manifestation is the world of plurality

The infinite is one. It can only be one. Its manifestation is the world of plurality with its endless varieties of names and forms. Just as all forms that have been created from gold are also gold, so too the world of forms can only be His own manifestations. In fact, the effects have no existence apart from the cause.

The finite alone can readily be comprehended, by the sense-organs, the mind and the intellect of man, at his present “state” of consciousness. The attempt of the spiritual student is to transcend his present instruments of perception and awake to the Higher in Him, from where he can experience the one “objectless-Awareness”. This great reality behind the universe, though intimately experienced by the great Rishis, they were helpless in directly defining, explaining or demonstrating it to their students. All such indications, pointing out the infinite, through the world of manifested finite objects are his glory only. Each one of them is a “Glory” of the lord, which id considered in religious as a “sacred name” of the Lord.

In short, these “Thousand Names of Vishnu” provide us with thousand clear arrows- marks rising from the known, indicating the unknown. Contemplation upon these can deepen our faith in, broaden our devotion to and steel our understanding of All-pervading Reality (Vishnu).

The infinite is approached by the devotees (Bhaktas) through love (Bhakti) and by philosophers (Aachaaryas) through contemplation (Vichaara). The differences in their techniques of approach, are the essential differences ordered by the types of vehicle employed by them. The devotees approach the Temple of their love through the heart, while the philosophers storm the citadel of truth with reason and logic; they explore the Reality with the head. Whatever be the means employed, and the instruments pressed into service, till they reach the last lap of their pilgrimage, all seekers need, in one form or other, props (Aasraya) to maintain a continuous and efficient ply of their instruments of saadhana. The sahasranaama gives to them both, a thousand props: each phrase here as its appeal to the devotee, and each one of them has also a suggestion to rocket the contemplative intellect to sublime heights of understanding.

Since the devotees have different forms to contemplate upon, according to the Lord of their heart we have different sahasranaamas available among us: Siva sahasranaama, Lalitaa sahasranaama, Sri Rama sahasranaama etc., to mention but a few. Of all of them, no doubt, Vishnu Sahasranaama is most popular one today among the Hindus.

Acharya sankara reached the feet of his Guru, Sri Govindapaachaarya, and on the bank of Narmada, the Nambootiri-boy from kaaladi got initiated into the secrets of the Mahaavaakyas. At the end of his short but intense study, sankara, the inspired missionary, wanting to fulfill his glorious work, craved from the blessings of his teacher. Govindapa Acharya tested sankara by ordering him to write an exhaustive commentary (Bhaashya) upon the Vishnu Sahasranaama. He accomplished his great task and the very first work of the Upanishadic commentator, sankara, the greatst Hindu missionary of the 7 th century, thus came to see the light of the day.

Govindaacharya, satisfied with the proficiency of the student blessed him and set him on the road of service and action. Earning the grace of the teacher and the blessings of the Lord Vishnu, Sri sankara inaugurated an incomparable revival movement of the decadent culture of the 7th century Hinduism. We shall here follow closely Sankara’s commentary and also draw our material from the Puranic literature that has an endless store of appeal to the hearts of all devotees.

There are, no doubt, slight differences here and there between the texts now popular in the north and the south. These different versions are of no consequence at all. Similarly, we find very slight differences in the ritualism generally adopted before starting the chanting of or “Archanaa” with the Vishnu Sahasranaama.

The Vishnu Sahasranaama was composed by Sri Veda Vyaasa, the author of the Puraanas, and we meet this great chant in his classical work, the Mahaabaarata, Prince Yudhisthira, the eldest of the pandavas, at the end of the war approached Bheeshma Pitaamaha, when the mighty grandsire of the Kuru family was lying on the bed of arrows, unconquered and in conquerable, awaiting the scared hour of his departure to the feet of the lord. Yudhishthira, the righteous, asked six questions, Bheeshma, the constant devotee of Krishna, the gigantic Man of Action, calmly answered them all. This is how we find the “Thousand Names of Lord Vishnu” introduced in the immortal classic of the Hindus, the Mahaabaarata.

Yudhishthira, as a righteous man of spiritual inclination, with the mortal integrity of a careful mortal, asks quite an interesting set of questions which are typical queries which the heart of seekers will always ask.